SKU: 15837512933

Zwölf Monatsbilder 四季図(12幅) | Yoshimura Kokei 吉村孝敬 | 1769-1836 (nur als Serie käuflich)

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Zwölf Monatsbilder 四季図(12幅) | Yoshimura Kokei 吉村孝敬 | 1769-1836 (nur als Serie käuflich)Yoshimura Kokei gehrt zu den Zehn Besten Schlern von Maruyama ky (1733 1795). Das ist sptestens seit dem 19. Jahrhundert eine Auszeichnung, da mindestens 50 Schler namentlich berliefert sind und es sicher noch Dutzende weitere Talente gab, die in Maruyamas Atelier studierten einem der grten berhaupt im 18. Jahrhundert. Obwohl sein Vater auch professioneller Maler war, ging Kokei bei ky noch in die Lehre, um Karriere zu machen. Mit seinem Vater

Yoshimura Kokei gehört zu den „Zehn Besten Schülern von Maruyama Ōkyō (1733-1795)“. Das ist spätestens seit dem 19.Jahrhundert eine Auszeichnung, da mindestens 50 Schüler namentlich überliefert sind und es sicher noch Dutzende weitere Talente gab, die in Maruyamas Atelier studierten – einem der größten überhaupt im 18. Jahrhundert. Obwohl sein Vater auch professioneller Maler war, ging Kokei bei Ōkyō noch in die Lehre, um Karriere zu machen. Mit seinem Vater zusammen erhielt er den Auftrag im Nishi-Honganji, einem der wichtigsten Tempel in Kyoto, Schiebetüren zu bemalen, und der Tempel soll bis heute noch viele seiner Werke besitzen.

Was konnte man bei Ōkyo vor allem lernen? Eigentlich alles, denn dieses Genie, das mit Ausnahme von Kalligrafie (einem Metier, in dem er sich nur selten versuchte), in jeder Sparte Vorbildliches leistete, zog aber vor allem mit seinem Bemühen um Realismus oder gar Naturalismus die Aufmerksamkeit aller Kunstfreunde in Japan auf sich. Das ist auch in diesen Monatsbildern von Kokei zu spüren. Doch wie bei seinem Meister bleibt auch beim Schüler Kokei die Poetisierung der im Prinzip naturgetreuen Motiv-Behandlung ein wichtiges Momentum.

Yoshimura Kokei pflegt in dieser Bilderfolge einen feinsinnigen Stil mit farbigem Understatement – einer Haltung, die typisch ist für edlen Kyoto-Geschmack. Die Grundfarben sind Braun, Beige und Grau – nur selten wird ein etwas lebhafterer Farbakzent gewagt. Umso mehr zeigt sich aber ein intelligenter und beweglicher Umgang mit Sinnbildern und Motiven. In der japanischen Kultur sind ja alle Jahreszeiten und Feste mit fixen Symbolen belegt. In diesem Bereich noch Phantasie zu entwickeln, ist eine Herausforderung an einen klassischen Maler. Kaum eines der Bilder weist ein strapaziertes Bildthema auf, was die Auseinandersetzung mit ihnen spannend macht. 

Alle Bilder sind signiert und besitzen einen nachweisbaren Stempel.

 

Beispiel:

Im Januar-Bild klammert sich ein „kleiner Vogel“ (vermutlich eine Japanische Nachtigall uguisu) an Zweige von shidare-ume (Pflaumenblütenbäumen mit hängenden Ästen), die schon in Zeiten des Schneefalls zu blühen beginnen. Der Vogel versucht dort, treibende Knospen zu knabbern – im kalten Winter eine Vorfreude auf den Frühling. Auf der oberen und unteren Bildleiste sind Farne gemalt, die traditionell zum Neujahrsschmuck gehören, aber selten als Neujahrssymbole gemalt werden. Da Farne hinten weiß sind, galten sie als Symbol für Aufrichtigkeit: Man hat keine dunklen Hinterseiten, d.h. man ist auch im Verborgenen ehrlich und rein (weiß).

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SKU: 15837512933

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